Strauss Isokosky

Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 34 years. During the Nazi era, he debuted at the Salzburg Festival, with the Vienna Philharmonic, the Berlin Philharmonic, and during World War II he conducted at the Berlin State Opera. Generally regarded as one of the greatest conductors of the 20th century, he was a controversial but dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate, he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.

Rudolf Kempe’s recordings of Richard Strauss have long been prized for their unparalleled clarity and subtlety in music that has come to define the late-Romantic temperament and its expression of highly strung emotions, whether in a state of Nietzschean exaltation, on the summits of Also sprach Zarathustra and the Alpine Symphony, or in the post-war despair of Metamorphosen. Even in his lighter moods, such as the early and carefree Aus Italien and the late concertos for wind instruments, Strauss loves the complex textures that Kempe and the Staatskapelle Dresden clarify with the utmost skill and sympathy. A classic set, remastered from the original East German master tapes.

If one disc of waltzes, marches, and polkas by the Strauss family is too little and all their waltzes, marches, and polkas are too much, this five-disc Decca set should be just enough. Featuring former concertmaster turned waltz master Willi Boskovsky on the podium and the Wiener Philharmoniker in the pit, these performances are elegantly conducted, stylishly played, and idiomatically performed. Boskovsky knows exactly how to phrase a theme, accent a rhythm, and bend a tempo to keep the music eminently danceable. The Viennese players respond to him and the music with an effortless enthusiasm and appealing affection that make their performances nearly impossible to resist.

The most famous and enduringly successful composer of nineteenth-century light music, Johann Strauss II captivated not only Vienna but the whole of Europe and America with his abundantly tuneful waltzes, polkas, quadrilles and marches. This unique collection brings together for the first time ever his entire orchestral output.

In honor of the 150th anniversary of Richard Strauss' birth, DG gives us this collection featuring the composer as conductor. While on the surface this would seem a wonderful opportunity to hear his music as Strauss intended it, this set winds up being something else: an examination of what happened when 19th century conducting styles met 20th century technology. For while Strauss is regularly feted as being one of the great conductors of his era, those who know also emphasize the fact that he didn't like recording all that much. Thus, this Strauss set is fascinating evidence of how recording technology can alter our perceptions of music.

The Vienna Boys 'Choir specializes to a certain extent in Strauss: Strauss' music means Vienna, is the sung business card of the Waltz City. Since the 1920s, the waltzes and polkas of the Strauss family have been an integral part of the concert repertoire of the Vienna Boys' Choir. Six times they were guests at the traditional New Year's Concert of the Vienna Philharmonic. The first recording of the Donauwalzer with the Vienna Boys Choir was made in 1933. Stories from the Vienna Woods were recorded in 1937, and a whole record with Strauss appeared in the USA in 1939; the last one appeared in 1999. High time for a new edition!

Richard Strauss, the great composer of symphonic poems and grand operas, wrote solo songs throughout his life: his first compositions, performed within his family circle, were songs and his setting of the poem Malven (Mallows) was to be the last piece he completed. Taking a keen interest in the possibilities and limitations of the human voice, Strauss in the solo song genre found the opportunity to try out various musical options and to discover his own individual style. But the writing of songs also served as a form of relaxation, a way of passing the time. The result is a varied spectrum of atmospheres, moods and emotions: from the jesting tone of Hat gesagt — bleibt’s nicht dabei to the heart-felt declaration of love in Cäcilie and the portrayal of madness of the Three Songs of Ophelia.